Patents  Pending 


A  COJLOa 
PENETRANT 
FOR 

CONCRETE 

SURFACES 


AT 


THE  LIBRARIES 


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Ij25 


COLUMBIA  UNIVERSITY 


Avery  Library 


n 


v_/ 


or 

ENDUmNGLY 
COLOR.  STAINING 
CONCRETE 
FLOOnS 
STEPS 
WALKS 
RAMPS 
STEPPING  STONES 


Patents  Pending 


A.C.HortN  Company 

LONG  ISLAND  CITY 
LONG  ISLAND  N.Y,~ 


Main  lobby  stairs  in  the  Allison  &  Allison,  Architects 

Friday  Morning  Club, 

Los  Angeles,  Califor?iia.  Up  ^nd  down  these  concrete  steps  pass 

each  day,  many  feet,  ruffing  and  scuffing  the 
Keramik  Finish. 

Save  for  a  slightly  greying  effect  on  the 
center  of  the  treads,  the  color  and  finish  are 
as  perfect  as  the  day  Keramik  was  put  on. 

The  effect  can  be  duplicated  by  using 
Keramik  Spring  Willow  Green  Number  22, 
as  shown  on  tile  page  12. 


7 


n 


II5E  A  TALE  OF  THE  MYSTICS 
^  READS  THE  STORY 

OF  KERAMIK 


IT  STARTS  in  ancient  Flan¬ 
ders.  It  continues  in  sun¬ 
shine-flooded  Los  Angeles. 

Starts  with  Robert  B.  Lam- 
mens,  an  inquisitive  child  in 
the  Belgian  town  ofWetteren. 

His  father,  a  searcher  in 
ceramics,  a  maker  of  tiles  of 
concrete,  pigment  colored  and 
hydraulic  pressed. 

Sometimes  the  colors  came 
right.  Often  wrong. 

Never  was  there  the  surety 
of  exact  happenings. 

The  lad  Lammens,  with  a 
wonder-why  mind,  spent  all  his 
spare  hours  in  the  tile  shop. 

Ever  was  he  trying  for  more 
satisfactory  colors. 

Ever  seeking  to  increase 
density,  surface  hardness. 

Then  came  college,  with 
years  of  chemistry,  physics,  and 
ever  the  lure  of  the  unsolved 
problems  of  concrete  coloring 
and  density. 

The  seeking  of  a  coloring 
that  would  not  be  an  integral 
pigment,  but  one  having  a  tile¬ 
like  surface  endurance. 

Then  America  with  its 
promise  beckoned  him. 


A  friend  finds  this  student- 
dreamer,  lighted  by  the  spark 
of  genius,  working  in  overalls 
in  a  New  Jersey  ceramic  plant, 
studying  at  first  hand,  materials 
and  methods. 

Years  follow — luring  years 
of  constant  seekings. 

So  thorough  is  his  knowl¬ 
edge,  so  exact  his  findings  on 
concrete  problems,  that  he 
becomes  an  accepted  authority 
and  advisor  among  architects. 

And  then^ — from  an  unsus¬ 
pected  source,  comes  the  key 
that  unlocks  the  door  of  his 
long  years  of  seekings. 

He  discovers  what  he  calls 
Kemiks.  They  are  what  you 
and  I  now  know  as  concrete 
color  surface  penetrants  —  in 
finished  results — Keramik. 

Th  ese  Kemiks,  in  a  wide 
gamut  of  colors,  join  forces 
with  the  lime  in  the  concrete 
—  but  that’s  another  story. 

First,  let’s  see  some  of  the 
Keramik  results  secured  with 
this  wizardly  Kemik. 

After  that  we  can  go  into 
particulars  of  what  Keramik 
Staining  is,  and  how  it  does  it. 


jj.C.HORKlQ 


3 


Paul  Thiene,  Landscape  Architect 


Among  Keramik’s  first  successful 
.  uses,  was  for  concrete  Tennis 
Courts. 

For  the  first  time  it  was  possible  to 
secure  a  pleasing  color,  that  is  not  only 
absolutely  weather  proof,  but  that  per¬ 
manently  hardened  the  surface,  prevent¬ 
ing  infiltration  and  diminishing  disin¬ 
tegration. 

The  Keramik  Spring  Willow  Green 
of  this  Court  has  stood  alike  the  pelting 
of  Southern  California’s  sun,  and  the 
grilling  wear  of  players. 


W  IZQg  TOlOS  u 


L7  ~i^-  jW  j\7  M  \Yl  xVi  )Vi  'I  \\ri  \yi  \Vl  iV/ 


WtlW^^v<\v>^Mi^ll/i^l/g\l/few<\vaw^^i 


Meyer  &  Holler,  Architects  and  Contractors 


IN  the  Court,  and  throughout  the  entire 
Grauman  Egyptian  Theatre,  at  Los 
Angeles,  Keramik  has  lent  a  gamut  of 
color.  Colors  that  are  time-toned, 
enriching.  Colors  restful,  yet  vibrant. 

Glaring  white-sand-made  concrete, 
softened,  beautified  and  surface  hard¬ 
ened  with  the  colors  from  Keramik’s 
Kemik  palette. 


I.C.Horn^ 


5 


And  now  comes  a  hotel 
.  hallway,  where  wear  is 
severe,  constant;  and  a  diffi¬ 
cult  unifyingof  several  low- 
keyed  colors  is  the  problem. 

This  glimpse  in  the 
lobby  of  the  Regent  Hotel, 
Hollywood,  California,  is 
its  own  best  evidence  of 
accomplishment. 


Meyer  &  Holler,  Architects  and  Contractors 


Had  you  thought  of  the  delightful  possibilities  in 
colored  concrete  stepping  stones — Keramik  colors 
linked  in  lower  keys,  reflective  of  the  flowers? 
Intriguing  thought,  that. 


6 


To  coLOR-coat  the 
boundaries  of  a  concrete 
pool — how  evident — how 
“painty”  that  effect  would 
be. 

But  Keramik-colored  — 
how  inherently  natural  the 
impression  —  how  logical 
the  mode  of  obtainment. 
For  such  is  the  charm  of 
Keramik,  Kemik  Staining. 


Residence  of  Wm.  Hanson,  Flint  Ridge, 
Caltjornia.  Harwood  Hewitt,  Architect. 


And  Bath  Rooms — had  you  thought  of  how  you 
can  now  have  tile  effects  in  an  almost  unlimited 
variety  of  color  combinations?  Keramik  sweeps 
ingly  waves  aside  accepted  tile  color  limitations. 


1 


Ninth  Church  of  Christ  Scientist,  Los  Angeles,  California 


Meyer  &  Holler,  Architects  and  Contractors 


IMAGINE  the  insistent  crudeness  had 
these  concrete  steps  and  approach 
been  natural  concrete  color! 

How  a  thing  apart  from  the  build¬ 
ing  itself. 

How  acceptably  Keramik  has  harmo¬ 
niously  softened  and  color-toned  it  all 
into  the  picture. 

Like  the  brick,  the  color  is  produced 
not  alone  by  the  Kemik  Stain,  but  by 
internal  chemical  action;  varying  with 
the  lime  content;  an  action  comparable 
in  results  to  the  firing  of  brick. 


Ninth  Church  of  Christ  Scientist,  Los  Angeles,  California 


Meyer  &  Holler,  Architects  and  Contractors 


The  white  lines  in  the  floor  of  this 
Christian  Science  Church  vestibule 
were  secured  by  leaving  the  joints  or 
markings  in  the  grey  cement,  and  pre¬ 
venting  the  Keramik  stain  from  creep¬ 
ing  into  them.  The  joints  are  cut  square 
Yf.  or  inch  wide  and  yi  deep.  This 
method,  you  at  once  see,  admits  of  a 
wide  range  of  design  treatments. 

In  this  instance,  an  equivalent  of  a 
three-color  effect  was  secured,  in  addi¬ 
tion  to  the  natural  duotones  in  the  two 
Keramik  colors. 


9 


out 


DOES  IT  PENETRATE  ENOUGH? 


Does  Keramik  Kemik  penetrate  deeply  enough, 
is  what  you  first  want  to  know. 

It  penetrates  deeper  than  the  color  on  a  vitrified  tile. 
Break  a  piece  of  such  tile,  and  you’ll  find  the 
penetration  is  so  small  it  scarce  can  be  seen. 

The  color  lays  on  the  surface. 

Still,  see  how  tile  wears. 

"But”  you  reply,  "Vitrified  tiles  are  glaze  colors 
burned  in;  while  Keramik  is  just  a  penetrant  stain.” 
So  far  as  the  vitrified  tile  is  concerned,  yes. 

As  for  a  Keramik  stained  tile,  no. 

Let’s  explain  why. 

The  Keramik  Kemik  Stain  has  little  value  until  a 
chemical  action  with  the  cement  is  set  up. 

The  Kemik  Stain  will  give  the  desired  color  effect 
only  when  the  chemical  reaction  takes  place  which 
contacting  with  the  concrete  creates. 

The  Keramik  Developer,  which  follows  the  appli¬ 
cation  of  the  Kemik  Stain,  carries  further  the  chemi¬ 
cal  action,  accentuating  and  fastening  the  color. 

What  takes  place  is  a  near  approach  to  the  burn¬ 
ing  of  the  tile.  Chemical  action  in  the  concrete,  caused 
by  the  Kemik,  takes  the  place  of  fire  with  tile. 

In  like  manner,  if  it  were  not  for  the  smooth  hard¬ 
ened  surface  of  the  burned  tile,  the  color  would  soon 
wear  off.  The  Keramik  Surfacer  accomplishes  quite 
the  same  result. 

It  gives  a  rich,  smooth,  sheen  effect,  that  both  re¬ 
duces  friction  and  diminishes  wear. 


Even  when  looking  through  a  magni' 
fying  glass  at  a  piece  of  broken  surface- 
colored,  vitrified  tile,  you  can  scarce 
detect  the  penetration. 


10 


WILL  KERAMIK  WEAR? 

IN  front  of  one  of  the  big  Los  Angeles,  California, 
stores,  on  one  of  its  busiest  streets,  is  a  Keram- 
icized  colored  concrete  sidewalk. 

After  several  years  of  constant  wear  and  tests,  it  still 
holds  its  color  to  an  unbelievable  degree.  Previous 
to  being  Keramicized,  the  pigment  color  used,  faded 
out  in  less  than  a  year. 

On  steps  where  the  treads  get  that  constant  sliding- 
scraping  wear,  Keramik  stands  up. 

Look  at  a  concrete  floor  through  a  magnifying 
glass  and  you’ll  see  it  is  a  countless  series  of  hills 
and  valleys.  It’s  the  hills- — or  high  spots  only — that 
wear  off.  In  the  valleys  lies  the  untouched  unaffected 
color.  Any  wearing  off  of  the  high  spots,  you  at 
once  see,  causes  only  a  slight  greying  effect.  One 
that’s  always  harmonious. 

Another  thing  to  remember  is  that  the  chemical 
action  caused  by  the  Kemik  in  the  Keramik  Process, 
hardens  and  densifies  the  surface,  causing  it  to  have 
a  greatly  increased  resistance  to  wear.  Furthermore, 
it  isn’t  as  if  Keramik  was  something  new  and  so 
little  tried  as  to  prove  nothing. 

After  years  of  tests  the  architects  and  contractors 
of  California  have  given  it  an  unqualified  endorse¬ 
ment.  Keramik  is  now  available  to  you  as  a  finished, 
proven  product  in  which  you  can  put  your  un¬ 
reserved  confidence,  whether  it  be  used  on  old  floors 
or  new. 


1 1 


No.  42  Yukon  Yellow 


No.  41  Suede  Grey 


No.  32  Oak  Leaf  Brown 


No.  22  Spring  Willow  Green 


KERAMIK  COLORS 
AND  COMBINATIONS 


A  LTHOUGH  there  are  some  twelve  or  so  basic 
xX  Keramik  Kemik  colors,  an  endless  variety  of 
gradations  and  combinations  can  be  secured. 

Most  interesting  variations  develop  of  themselves, 
because  of  the  varying  lime  contents  and  varying  den¬ 
sities  of  the  concrete.  Lights  and  darks  often  con.- 
trast  themselves  like  the  gradations  of  a  delightful 
piece  of  old  time-toned  Cordovan  leather. 

The  applying  of  one  or  more  colors  over  another 
gives  results  comparable  to  those  of  a  painter  in  his 
laid-over  colors,  giving  combinations  of  under  and 
over  tones. 

The  control  of  the  basic  Keramik  colors,  however, 
is  constant.  Their  charm  lies  in  the  natural  gradation 
and  blendings.  Such  a  thing  as  a  flat,  so-called,  uni¬ 
form  color  is,  happily,  practically  unobtainable. 

The  seemingly  impossible  has  been  accomplished. 

In  addition  to  colors  shown  above,  there  are  Seal 
Brown,  Snuff  Green,  Green  Variation,  Brown-Green 
Duotone,  Sage  Brush  Green,  Cat  Tail  Brown. 

Duotone  effects  in  all  the  Keramik  Kemik  colors 
is  one  of  Keramik’s  greatest  accomplishments. 


12 


No.  24  Ripe  Olive 


HOW  APPLIED 
AND  SPECIFIED 


Although  Keramik  staining  has  been  tested 
XX  for  a  long  period,  it  is  still  virtually  a  new  art. 
An  art  not  only  involving  a  knowledge  of  appli¬ 
cation  methods  but  a  familiarity  with  the  perform¬ 
ances  of  Keramik  colors. 

At  present  this  knowledge  is  known  alone  to  us, 
or  our  licensed  contractors. 

New  floors  should  be,  as  far  as  possible,  protect¬ 
ed  from  oil  stainings  of  any  kind.  The  uncombined 
cement,  or  laitence  as  it  is  called,  should  be  removed 
with  an  acidulated  wash.  Then  is  applied  the  color 
base  of  Kemik  Stain,  which  has  no  evident  bearing 
on  the  final  color  attained. 

Applications  of  Keramik  Kemik  Stains  are  followed 
by  the  Developer,  which  both  accentuates  the  color 
and  densifies  tbe  surface. 

Then  follows  the  Surfacer,  which  further  wear- 
proofs,  and  leaves  the  surface  with  a  rich  soft  sheen. 

Specify  as  follows:  Concrete  surfaces  to  be  treated 
with  the  Horn  Keramik  Process — Patents  Pending 
(give  color  number  or  numbers). 

Application  to  be  made  by  A.  C.  Horn  Company, 
or  its  licensed  contractors. 


A.C.Horn(6 


13 


One 


iiiitiAii  iik,  ’lii '^k:  iiii  dk,  Xk.4tk!^i^iLt^  .1^  dib  di^iid 


FOR  OLD  FLOORS  OR  NEW 


A  New  York  Architect  moved  to  offices  in 
a  building  where  the  floors  were  the  depress¬ 
ing  drabbish  color  of  the  natural  concrete.  Its 
depressing  effect  was  noticeable  on  the  spirit 
and  work  of  the  draftsmen. 


It  was  Keramicized  the  Oak  Leaf  Brown 
shown  above.  It’s  scarce  necessary  to  tell 
you  the  result  alike  on  the  room  and  the 
workers.  Name  and  address  of  architect 
gladly  furnished. 


Basement  Lobby  in  F< 
Bank,  Hollywood,  Cal 
Morgan,  Walls  and  Cl 


Four 


CUT  DESCRIPTIONS 


In  the  five  subjects  illustrated,  Keramik  Stains  were  used 
with  entire  satisfaction  on  either  old  or  new  floors. 


Automobile  Salesroom  of  Gotfred — three 
son  Motor  Co.,  Los  Angeles,  Cal. 

Morgan,  Walls  and  Clements,  Archi¬ 
tects. 

St.  Vincents  Church,  Los  Angeles,  —  four 
Cal.  Albert  C.  Martin,  Architect. 


Three  | 

"  «»'"  ■§ 


tal  Trust  and  Savings 


ONE  —  Beauford  Craig  Residence,  Pasadena, 
Cal. 

Kenneth  A.  Gordon,  Architect. 

TWO — One  of  Los  Angeles’  largest  Depart¬ 
ment  Stores. 


ents.  Architects. 


15 


Ow  §flafltrrit  C  nJiferirio  CIhiwj  er 

^  of  fit#- 


4^ 

'- — -Xiri\obcrf"-6- fainmc^ 

Cfrtijirfltetfjlsnor  ' 

in 

S^n«:A*‘fs 

Ah  '  ‘  . 

. ^  l(obei-t  L\ 


&A-W4a-t 

v;s3es4t4AivJA?^ 


.V*  «*'?<>*»• 

5  ;  «if, 


This  Certificate  of 
Honor  was  awarded 
by  the  California  Chapter  of 
The  American  Institute  of 
Architects  to  Robert  B. 
Lammens,  the  inventor  of 
Keramik  Process  of  Con¬ 
crete  Staining. 

It  is  the  highest  honor 
conferred  on  a  layman  by 
an  Institute  Chapter. 


( 


This  cement  tile,  like  all  those  throughout  the  book,  was 
made  direct  from  the  Keramik  Stained  Tile. 

No  retouching  or  the  least  change  in  color  has  been  made. 
The  effect  is  called  Oak  Leaf  Variation.  It  was  secured  by 
first  staining  with  Oak  Leaf  Brown  Number  32.  Then  re¬ 
staining  alternate  squares  with  Number  21. 

This  at  once  suggests  to  you  endless  effects,  interpreting  a 
mood,  or  effectually  linking  in  the  floor  with  your  color  scheme. 

When  you  consider  it  is  equally  practicable  on  either  old  or 
new  floors,  what  a  vista  of  possibilities  Keramik  opens  up ! 


17 


ETTERS  FROM  ARCHITECTS 
WHO  HAVE  USED 
KERAMIK  ^ 


As  the  Lammens  Process  of  Concrete  Staining,  or  Keramik,  as  it  is  now 
called,  was  first  discovered  by  Robert  B.  Lammens,  of  Los  Angeles, 
California,  just  logically,  most  of  its  uses  started  in  California. 

Not  caring  to  use  any  letters  from  architects  other  than  those  who 
had  used  the  material  sufficiently  long  to  give  it  an  ample  test,  accounts 
for  so  many  coming  from  Pacific  Coast  Offices. 


Harmonious  Colors 


JOHN  C*AUSTlN--r-AtA 

AND 

TREDENICM- ASHLEY- -Ai-A 

ARCHITECTS 

III6-II25  DETWLER  BUILDING 
412  WST  SKIN  STREET 
U3S  ANGELES  CALlfOKNlA 

We  have  just  completed  the  treatment  with  The 
Lammens  Process,  of  the  cement  floor  in  the 
Exhibit  Hall  of  the  Los  Angeles  Chamber  of 
Commerce. 

The  result  obtained  is  very  satisfactory.  All 
of  the  colors  are  clear  and  rich,  and  the  com¬ 
bination  of  colors  very  harmonious.  The  sur¬ 
faces  appear  to  be  hard  and  durable. 

We  have  watched  floors  that  have  been  treated 
with  the  Lammens  or  Keramik  Process,  for  the 
past  year,  and  have  been  well  satisfied  with  it; 
otherwise,  we  should  not  have  used  the  system 
in  the  Los  Angeles  Chamber  of  Commerce’s 
principal  rooms. 


Equals  Tile 


Lower  Cost 


ALBERT  C.  MARTIN 
ARCHITECT 
higgins  building 
UOSANGELES.CAL. 


It  very  often  happens  that  we  desire  to  get  an 
attractive  floor  in  situations  where  our  cost 
allowance  will  not  admit  of  marble  or  other 
expensive  material.  In  such  cases  we  have  used 
the  Lammens  or  Keramik  Process  with  very  good 
results. 

Have  been  able  to  secure  colors  which  are  very 
soft  and  harmonious  in  their  effect,  and  that  tone 
in  with  other  colors  in  the  architectural  scheme. 

A  very  important  advantage,  is  that  floors  so 
treated  are  not  checkerboarded  in  effect,  but  each 
tile  has  the  color  varied  within  itself,  and  blends 
to  the  adjoining  tile. 

Feel  that  there  are  greater  possibilities  for  this 
process  that  have  not  yet  been  discovered. 


Hospital  Floors 


MARSTON.VAN  PELTS  MAYBURY 

ARCHITECTS 
25  SOUTH  EUCLID  AVENUE 
PASADENA 


In  regard  to  the  treatment  of  cement  floors 
with  the  Lammens  or  Keramik  Process  of  stain¬ 
ing,  we  wish  to  say  that  we  have  used  this 
process  on  some  of  our  more  important  work 
with  very  satisfactory  results.  The  effects  obtain¬ 
able  are  on  a  parallel  with  the  best  quality  of 
tile  floors.  In  addition  to  the  pleasing  appear¬ 
ance  obtained,  their  treatment  acts  as  a  hardenet 
for  the  cement  top  dressing. 


^bert  ®rr,  JVrdiitect 

MCMBER  OP 

THC  American  institute  of  Architects 

(Aitgeles,  OlaL 


On  the  recently  completed  first  unit  of  the  Holly¬ 
wood  Hospital  we  used  the  Keramik  Process 
of  Chemical  Staining  for  the  floors,  throughout 
practically  the  entire  building.  All  of  the  wards 
had  a  border  and  base  of  this  treatment,  besides 
all  service  kitchens  and  other  utility  rooms. 

From  an  economic  standpoint,  it  has  proven 
very  successful.  From  the  artistic,  it  is  a  very 
pleasing  and  satisfactory  solution  for  our  prob¬ 
lem  of  floor  finish.  I  would  not  hesitate  to  use 
this  on  any  future  work,  owing  to  the  results 
obtained  on  the  Hollywood  Hospital. 


SV-N 


Hardens  and  Preserves 


Better  Than  Tile 


W.  J.  DODD.  ARCHITECT 
WILLIAM  R  I  C  H  A  R  DS.  E  NG  INEER 
905  BRACK  SHOPS  BUILDING 
LOS  ANGELAS.  CAUlFORNIA 


The  first  time  I  saw  and  investigated  Mr.  Lam- 
mens’  treatment  of  cement  surfaces,  which  is 
what  is  now  called  Keramik,  I  was  immediately 
impressed  by  the  vastness  of  the  field  for  such 
a  process  in  the  finishing  of  floors  in  public  and 
semi-public  buildings,  especially  for  offices  and 
hospitals. 

I  had  experienced  the  usual  heartbreaking  dis- 
appointmentswith  numerous  kinds  of  floorpaints 
on  cement,  the  best  of  which  soon  failed  under 
heavy  wear,  leaving  a  spotty,  unsightly  appear¬ 
ance  on  the  floor. 

Somewhat  better,  but  still  unsatisfactory,  were 
the  results  I  had  experienced  with  mixing  min¬ 
eral  pigments  and  other  coloring  matters  with 
the  cement  topping. 

Therefore,  hailed  wirh  enthusiasm,  the  advent 
of  a  treatment  of  the  finished  cement  surface, 
old  or  new,  which  gave  a  permanent  and  beau¬ 
tiful  appearance  to  the  floor,  and  which  at  the 
same  time  hardens  and  preserves  the  cement. 

Have  used  this  treatment  on  various  classes 
of  building,  and  have  had  uniformly  excellent 
results.  Believe  the  scope  for  this  Keramik 
staining  and  hardening  of  cement  surfaces  is 
practically  unlimited. 


JOHNSON, KAUFMANN  S  COATE 
ARCHITECTS 

We  have  been  using  cement  stained  floors  pre¬ 
pared  by  the  Lammens  or  Keramik  Process  over 
a  period  of  years  and  today  these  floors  have  a 
higher  value  in  our  opinion  than  they  have  had 
at  any  time  during  that  period.  We  know  of 
nothing  on  the  market  that  rivals  it  except  tile, 
and  in  many  cases  we  believe  that  a  well  made 
cement  floor  treated  by  this  process  is  superior 
to  tile. 


Stands  Wear 


Morgan, Walls  £  Clements 
Architects  and  Engineers 
iiaA  I  N  Van  Nuys  Budo. 

Los  Angeles, Cal. 


Several  vears  ago,  Mr.  Lammens  brought  me 
a  sample  of  cement  surface  treated  with  color 
which  he  assured  me  would  stand  considerable 
wear  under  foot.  This  struck  me  very  forcibly 
as  having  wonderful  decorative  possibilities  in 
a  material  of  very  little  cost. 

Within  a  few  weeks  we  executed  a  Sun  Room, 
staining  it  a  real  apricot  color  to  tie  in  with 
draperies  and  contrast  with  the  general  greenish 
color  walls. 

From  this  beginning,  Keramik  has  become 
an  every  day  occurrence  with  us.  Almost  every 
building  erected  by  this  firm  has  some  portion 
of  floors  so  treated. 


Never  Fails 


J.F'RA.rrErVT'EI.lJETl 
AitCHITECT 
SttetbIUC  Stofty  Bxjxlj>ing 
Los 


This  is  an  endorsement  of  the  Lammens  or  Kera¬ 
mik  Process  of  chemical  staining,  which  I  have 
been  familiar  with  by  using  it  wherever  possible. 

I  consider  it  by  far  the  best  method  yet  invent¬ 
ed  for  the  preservation  and  beautifying  of  cement 
floors.  I  have  used  it  both  in  domestic  and  public 
buildings  with  absolute  success,  and  have  yet  to 
find  a  single  instance  where  it  has  failed  to  satisfy 
my  clients. 

Should  you  so  desire  I  can  give  you  a  list  of 
prominent  buildings,  such  as  clubs,  hospitals, 
residences,  showrooms,  etc.,  in  fact  I  have  used  it 
in  a  great  many  cases  in  preference  to  tile. 

These  floors  do  not  show  the  slightest  signs  of 
deterioration  or  fading,  instead  they  seem  to  im¬ 
prove  with  time. 

Now  have  three  buildings  on  the  boards  which 
will  have  this  process  specified. 


Used  on  Buildings  of  All  Types 


MEYER  &  HOLLER 

INCORPORATED 

(  M I L.WAVICE.E,  BMLDING  COMPANY) 

WRIGHT  ©•  CA^LKHDE.R  BVTtGINO 

LOS  A-NGBLES 


This  office  regards  the  Lammens  Process  of 
staining  cement  floors  as  one  that  provides  a 
most  satisfactory  way  of  obtaining  artistic  and 
permanent  results. 

We  have  used  this  process  with  complete  sat¬ 
isfaction  on  the  following  jobs: 

Southern  California  Music  Company 
Fourth  Christian  Science  Church 
Christie  Hotel 
Pierce  Mortuary 
Dr.  Smith  Residence 
Ninth  Christian  Science  Church 
Hollywood  Athletic  Club 
Grauman’s  Egyptian  Theater. 


Robert  H.  Orr,  Architect 


This  Keramik  Stained  restaurant  floor,  with  all  its  aisle  pass- 
and  pushing  back  of  chairs,  shows  no  appreciable  wear 
C.  C.  Brown  Confectionery,  Los  Angeles,  California. 
Architects  Morgan,  Walls  and  Clements 


All  floors  through  practically  the  entire  Hollywood 
Hospital,  at  Hollywood,  California,  are  Keramik 
Stained. 

Turn  back  to  page  eighteen,  and  read  what  the 
architect  says  about  it. 


Number  23,  Green  Olive,  Note  the  duotone  effects 
The  next  one  so  stained  might  be  decidedly  variant. 

Now  much  more  attractive  than  one  solid  color  tone  throughout 


Let  us  again  emphasize  the  fact  that  Keramik 
Kemik  Process  (Patents  Pending)  is  equally  practi¬ 
cal  on  either  old  or  new  floors. 

On  remodeling  work  its  value  at  once  suggests 
itself. 


Flemish  Brown  Number  33.  Again  note  the  duotone. 
Here  you  see  them  to  greater  extent  due  to  more  variation 
in  the  lime  content 


Fourth  Church  of  Christ  Scientist,  Cos  Angeles,  California 
Meyer  and  Holler,  Architects  and  Contractors 


This  entire  concrete  tile  court  or  patio  is  Keramik  Stained  a 
restful  cool  color,  in  just  the  desired  strength  and  gradation  to 
suit  the  owirer’s  taste.  Charles  Seyler  Residence,  Los  Angeles, 
California.  Architects  Morgan,  Walls  and  Clements 


21 


Acquataina  Apartments,  Chicago,  III. 
Vulcatex  joint  water-proofing  cement  used 
Ralph  C.  Harris,  Architect 


y 


A  WORD 
ABOUT  THE  MAKERS 
OF  KERAMIK 


o  You  now,  Keramik  may  be 
but  little  more  than  a  mere  name. 
The  name  of  a  process. 

But  what  guarantee  have  you, 
that  Keramik  is  not  just  one 
more  of  the  many  seeming  happy 
solutions  that,  because  of  lack  of 
merit,  have  come  and  gone  ?  This,  then, 
is  your  guarantee. 

Back  of  Keramik  stands  The  A.  C. 
Horn  Company,  its  makers. 

Back  of  A.  C.  Horn  Company  stands  a 
reputation  of  a  quarter  of  a  century,  gained 
the  country  over  in  structural  and  chemical 
engineering  fields.  To  the  success  of 
modern  water-proofing  methods  and  ma¬ 
terials,  no  other  single  concern  has  con¬ 
tributed  as  much. 

A.  C.  Horn  is  one  of  the  pioneers  in 
integral  water-proofing,  which  today  is 
such  a  vital  factor  in  building.  It  was 
this  Company  that  did  so  much  to  perfect 
thorough  water-proofing  and  damp-proof¬ 
ing  materials  for  superstructures. 

Materials  and  methods,  indispensable  to 
the  success  of  such  structures  as  the  Wool- 
worth  Building  in  New  York  City,  and 
the  Wrigley  Building  in  Chicago,  not  to 
mention  buildings  of  all  sizes,  the  entire 
country  over. 

The  reputation  of  A.  C.  Horn  Company 
stands  squarely  back  of  Keramik.  It’s  your 
unqualified  guarantee  of  success. 


II 

)i 


1 

I 


i 


22 


CONCERNING 

HORN'S 

WATER  PROOFINGS 


ou  Know  full  well  that  it’s  not 
a  difficult  thing  to  water-proof 
a  foundation  or  a  structure,  so 
that  it  meets  specifications  and 
passes  inspection.  But  it’s  quite 
another  thing,  to  have  those  con¬ 
ditions  continue  during  the  life 
of  the  building.  Based  on  that  accom¬ 
plishment  are  Horn’s  Water-proofings. 

Such  is  unfailingly  so,  whether  it  be  a 
caulking  material  for  window  frames,  or 
Terra  Cotta  joints. 

And  whether  it  be  for  integrally  water¬ 
proofing  a  foundation;  or  damp-proofing 
of  walls  by  the  membrane  method. 

Prevention  is  ever  less  costly  than  cures. 
Still  Horn’s  materials  and  methods  accom¬ 
plish  both.  We  heartily  advise  prevention. 

So  dependable,  for  example,has  Vulcatex 
proven,  that  all  the  Terra  Cotta  joints  on 
the  Wrigley  Building  were  raked  and  filled 
with  it.  On  the  second  building,  Vulcatex 
was  used  at  the  start. 

The  full  service  of  an  extensive  group 
of  Horn’s  water-proofing  engineers  is 
always  available  to  you. 

When  we  say  engineers,  we  mean  ex¬ 
actly  that  and  not  the  usual  salesmen  abun¬ 
dant  in  conversation,  but  lacking  in  ex¬ 
perience  and  applicable  facts. 

For  facts  on  our  leading  materials  see 
the  pages  that  follow. 


iHi; 


^  Effl  ITd 

gncjy.F:  r. 


London  Guarantee  Trust  Building,  Chicago,  III. 
Completely  pointed  with  Vulcatex 
Alfred S-  Aschuler,  Architect 


23 


Weaver  High  School,  Hartford,  Conn. 

All  Cast  Stone  caulked  with  Vulcatex.  Foundations  were  water-proofed  with  Hydratite 
Frank  Irving  Cooper  Corp.,  Architect,  of  Boston  and  Hartford 


HO  UN'S  SPECIFIC  WATEH  PROOFINGS 
FOR  SPECIFIC  USES 


HYDRATITE 

An  Integral  Water-Proofing  Compound 
in  Paste,  Powder  or  Liquid  Form 

o  be  incorporated  into  cement  mortar 
and  concrete  mixtures,  rendering  them 
permanently  water-tight.  For  water¬ 
proofing  all  cement  mortar  and  con¬ 
crete  work,  including: 

Concrete  Substructure,  Floor  Slabs, 
Reservoirs,  Cisterns,  Tanks,  Sewers,  etc. 

Cement  Plaster. 

3  Stucco:  Preventing  disintegration  and 
staining  due  to  volume  changes  of  ab¬ 
sorbed  water.  Prevents  rusting  of  wire 
lath  from  continued  water  absorption. 


4  Mortar  Joints  in  brickwork  or  stone 
to  prevent  damp  structures. 

5  Concrete  Blocks  (containing  no  cin¬ 
ders). 


DEHYDRATINE  DAMP-PROOEING 
COATINGS 

For  Inside  Surfaces  of  Exterior  Masonry  Walls 
Above  Grade 

1  Dehydratines  are  composed  of  intelligent 
blendings  of  the  world’s  best  bitumens 
and  pitches,  which  in  themselves  are  water, 
acid  and  alkali  proof, — combined  scien¬ 
tifically  with  prepared  and  especially  treated 
oils  to  insure  immunity  against  destruc- 


tive  influences  of  contraction  and  ex¬ 
pansion,  and  finally  thinned  with  mineral 
distillates  to  provide  area  covering  capacity 
as  well  as  penetration.  The  intimate  com¬ 
bining  of  heat  processes  and  proportioning 
of  these  ingredients,  render  successful  du¬ 
plication  of  these  time-tested  coatings 
practically  impossible. 

2  For  Many  Years  have  been  success¬ 
fully  used  in  all  climates,  remaining  tough, 
elastic,  pliable  and  adhesive,  adapting  them¬ 
selves  at  all  times  to  any  possible  ex¬ 
pansion  or  contraction  of  the  masonry. 

3  Seal  the  inside  surface  of  the  wall  against 
penetration  of  moisture  through  the 
masonry. 

4  Provide  a  permanently  Eeeective  Bond 
for  directly  applied  gypsum  plaster,  elimi¬ 
nating  the  necessity  and  expense  of  furring 
and  lathing  on  brick,  terra  cotta  and  stone 
walls. 

5  Preserve  plaster  mural  decorations  from 
disfigurement.  Prevent  staining  and  efflo¬ 
rescence  of  plaster  and  peeling  of  paint. 

DEHYDRATINE  No.  1 

Damp-proofing  brush  coating  for  brick,  terra 
cotta  and  stone. 

DEHYDRATINE  SEMI-MASTIC 

(Patented)  Extra  heavy  damp-proofing  brush 
coating,  containing  asbestos  fibres  which  provide 
additional  body  and  strength,  equalling  about 
five  ordinary  coats  of  oil  paint.  Of  substantial 
insulating  value.  Eor  use  on  brick,  terra  cotta 
and  stone. 

DEHYDRATINE  No.  10 

(Patented)  Heavy  damp-proofing  trowel  coating 
for  use  on  brickwork.  Applied  1/16  inch  thick. 
Reinforced  with  asbestos  fibres,  providing 
extra  strength  equalling  ten  ordinary  coats  of 
oil  paint.  Of  exceptional  insulating  value. 


DEHYDRATINE  No.  2 

A  transparent  water-proof  brush  coating  for 
enveloping  exterior  masonry  surfaces. 

Eor  use  on  virgin  surfaces  only,  without 
affecting  the  surface  texture. 

Preserves  brick,  stone,  concrete,  cement 
mortar,  magnesite  lime,  or  cement  stucco. 

Protects  metal  lath  from  rusting  due  to 
absorbed  moisture. 

Eor  interior  of  reservoirs,  pools,  water  tanks, 
etc.,  to  prevent  leakage. 

Eor  checking  efflorescence  on  exterior  brick 
or  stone  work. 

Protects  decorations  from  dampness. 


Wrigley  Building,  Chicago,  111. 

All  joints  raked  and  pointed  with  Vulcatex. 
Graham,  Anderson,  Probst  8c  White,  Architects 


25 


DEHYDRATINE  No.  80 


VULCATEX 


A  liquid  compound  to  lubricate,  hasten  the 
hardening  and  permanently  strengthen  cement 
mortar  and  concrete  mixtures.  (To  be  mixed 
with  the  gauging  water.) 

Hastens  the  setting  of  cement  mortar  for 
floor  work,  saving  labor  costs. 

Hardens  the  cement  floors  throughout,  pro¬ 
ducing  hard-wearing,  dust-free  cement  surfaces 
and  making  possible  a  high  polish. 

HORNSTONE  HARDENER 

A  chemical  surface  treatment  for  cement  floors, 
concrete  surfaces,  and  limestones;  resulting  in 
harder,  denser,  insoluble,  dustproof  and  perma¬ 
nent  wearing  surfaces,  highly  resistant  to  disin¬ 
tegration  by  chemical  action  or  traffic. 


An  Elastic  Cement  for 

Caulking  of  Window  Frames 
Pointing  up  brick,  stone  and  terra  cotta  joints 
Filling  expansion  joints  in  concrete  work 
Pointing  up  and  embedding  glass  in  skylights 
Bedding  slate  and  Spanish  tile  roofs 
Pointing  up  flashings. 

VULCATEX  remains  indefinitely  elastic  and 
adhesive,  is  non-staining,  and  is  furnished  in 
the  natural  gray  or  in  special  colors.  It  has  for 
many  years  been  widely  recognized  as  the  most 
effective  caulking  and  pointing  material.  The 
color  adaptability  of  VULCATEX  permits  its 
use  in  the  finest  architectural  work. 


Elevator  Pits  and  Foundations  Integrally  Water-Proofed  with  Hydratite. 
Columbia  School  of  Mines,  Arnold  W.  Brunner,  Architect 


26 


BYWAY  OF  EVIDENCE 


Plaza  Hotel,  New  York 
H.  J.  Hardenbergh,  Architect 
Number  1  Dehydratine  med 


The  following  list  of  a  few  of  the 
country’s  buildings  in  which 
Horn  Water -Proofings  have  been 
used,  carries  its  own  convincement. 

If  it  is  evidence  you  seek,  what 
better  can  there  possibly  be? 

BARNARD  COLLEGE, 

New  York  City,  N.  Y. 

Architects — Buchman  &  Fox 
[Hydratite] 

BROOKLYN  EDISON  COMPANY, 

Brooklyn,  N.  Y. 

Architects — Thomas  E.  Murray,  Inc.,  Engrs. 
[Hydratite] 

CARNEGIE  LIBRARY, 

Pittsburgh,  Pa. 

Architects — Alden  &  Harlow 
No.  1  Dehydratine] 

No.  3  Dehydratine] 

No.  4  Dehydratine] 

CHAPEL  OF  INTERCESSION, 

Washington  Heights,  N.  Y. 

Architect — Bertram  Goodhue 
[Hydratite] 

CHICAGO  &  NORTHWESTERN  DEPOT, 
Chicago,  Ill. 

Architects— Frost  &  Granger 
[No.  4  Dehydratine] 

DEPARTMENT  OF  AGRICULTURE  BLDG., 
Washington,  D.  C. 

Architects — Rankin.  Kellogg  &  Crane 
[No.  3  Dehydratine] 

FREEDMEN’S  HOSPITAL, 

Washington,  D.  C 

Architects — Bruce  Price  &  De  Sitour 

[No.  1  Dehydratine] 


HOTEL  AMBASSADOR, 

New  York  City,  N.  Y. 

Architects — Warren  &  Wetmore 
[Hydratite] 

HOTEL  DENECHAND, 

New  Orleans,  La. 

Architects — Toledano  &  Wogan 
[No.  1  Dehydratine] 

KEENAN  BUILDING, 

Pittsburgh,  Pa. 

Architect — Thomas  Hannah 
[No.  4  Dehydratine] 

MADISON  AVE.  PRESBYTERIAN  CHURCH, 
New  York  City,  N.  Y. 

Architect — James  Gamble  Rogers 
[Hydratite] 

METROPOLITAN  SAVINGS  BANK, 
Baltimore,  Md. 

Architects — Parker,  Thomas  &  Rice 
[No.  1  Dehydratine] 

MISSOURI  PACIFIC  BUILDING, 

St.  Louis,  Mo. 

Architect — W.  Albert  Swasey 
[No.  4  Dehydratine] 

MUNICIPAL  BUILDING, 

Washington,  D.  C. 

Architects — Gape  &  Stewardson 
[No.  3  Dehydratine] 

MUNSEY  BUILDING, 

Washington,  D.  C. 

Architects — McKim,  Mead  &  White 
[No.  1  Dehydratine] 

MUSEUM  OF  NATURAL  HISTORY, 

Central  Park,  New  York  City 
Architect — Chas.  Volz 
[No.  1  Dehydratine] 

NATIONAL  LEAD  CO.  BLDG., 

Port  Richmond,  S.  1. 

Architect — Frank  Quinby 
[Hydratite] 


POST  HEADQUARTERS, 

U.  S.  Military  Academy,  West  Point,  N.  Y. 
Architects — Gram,  Goodhue  &  Ferguson 
[No.  1  Dehydratine] 

R.  A.  LONG  BUILDING, 

Kansas  City,  Mo. 

Architects — Howe,  Hoyt  &  Cutter 
[No,  1  Dehydratine] 

STEVENS  INSTITUTE  GYM., 

Hoboken,  N.  J. 

Architects — Ludlow  &  Peabody 
[Hydratite] 

THE  BON  MARCHE, 

Seattle,  Washington 
Architect — John  Graham 
[No.  1  Dehydratine] 

TIFFANY  BUILDING, 

New  York  City,  N.  Y. 

Architects — McKim,  Mead  &  White 
[No  1  Dehydratine] 

U.  S.  CUSTOM  HOUSE, 

San  Francisco,  Calif. 

Architects — Fames  &  Young 
[No.  4  Dehydratine] 

U.  S.  SENATE  BUILDING, 

Washington,  D.  C. 

Architects — Garrere  &  Hastings 
[No.  3  Dehydratine] 

WANAMAKER  BUILDING, 

Philadelphia,  Pa. 

Architect — D.  H.  Burnham 
[No.  3  Dehydratine] 

WESLEY  MEMORIAL  CHURCH, 

Atlanta,  Ga. 

Architect — George  C.  Thompson 
No.  4  Dehydratine] 

WESLEYAN  UNIVERSITY, 

Middletown,  N.  Y. 

Architect — Henry  Bacon 
[Hydratite] 


27 


Copyright  1925  by 

A.  C.  Horn  Company 

LONG  ISLAND  CITY 
LONG  ISLAND,  N.  Y. 
Printed  by 

The  Scribner  Press 


AVERY  LI3RARY 
COLUMBIA  UNIVERSITY 


